Saturday, November 21, 2015

Mount the Air

Species Speech

Species Speech, 2015
marble, wood, acrylic
97 x 55 x 15 cm

Unité ouvriers paysans

Unité ouvriers paysans, Poster, 98 x 65 cm,1968

Sunday, November 15, 2015

Why Jihadists Write Poetry

On October 11, 2014, according to Islamic State-affiliated Twitter accounts a woman going by the name Ahlam al-Nasr was married in the courthouse of Raqqa, Syria, to Abu Usama al-Gharib, a Vienna-born jihadi close to the movement’s leadership. ISIS social media rarely make marriage announcements, but al-Nasr and al-Gharib are a jihadi power couple. Al-Gharib is a veteran propagandist, initially for Al Qaeda and now for ISIS.

His bride is a burgeoning literary celebrity, better known as “the Poetess of the Islamic State.” Her first book of verse, “The Blaze of Truth,” was published online last summer and quickly circulated among militant networks. Sung recitations of her work, performed a cappella, in accordance with ISIS’s prohibition on instrumental music, are easy to find on YouTube. “The Blaze of Truth” consists of a hundred and seven poems in Arabic—elegies to mujahideen, laments for prisoners, victory odes, and short poems that were originally tweets. Almost all the poems are written in monorhyme—one rhyme for what is sometimes many dozens of lines of verse—and classical Arabic metres.

By Robyn Creswell and Bernard Haykel

Read more :

Thursday, November 12, 2015

What Foundations Have Been Laid for Them: The Building and Burning of Knowledge

We are accustomed to equating literature and architecture—a stanza, the basic unit of poetry, is, after all, a “room” in Italian. But in the case of the edifices built to hold books, this relationship is more intimate, not just linguistic or metaphoric but concrete (often marble). If a stanza is a room for words on the page, a library is a series of rooms for words—and the books that hold them—on the ground. And ground is often disputed, desecrated, possessed and dispossessed. It is always political: just as it is the site for the building and projecting of knowledge, it is often the site of its destruction as well. Consider three examples:

The Fridericianum in Kassel, Germany, opened in 1779 as a library and public museum, one of Europe’s earliest. Along with the art collections of the Hessian landgraves, it held more than 100,000 books. The Fridericianum’s construction was funded by Friedrich II, Landgrave of Hesse-Kassel, who made his fortune by selling local mercenaries to Great Britain to fight in the American Revolution. After briefly becoming a parliamentary building under Napoléon’s brother Jérôme, then King of Westphalia and Kassel, the Fridericianum was returned to its original function; Jacob and Wilhelm Grimm would work at the library there. The museum’s collections were relocated to Berlin under Prussian rule, and by the early twentieth century the building became a state library only. Thus marks some of the nascent stages of Fridericianum’s building of knowledge, but burning would come.
On May 19, 1933, approximately 2,000 books were burned on Friedrichsplatz, reportedly attended to by enormous crowds. The bonfire was held in conjunction with book burnings in university towns across the country, a nation-wide “Action Against the Un-German Spirit,” as it was termed, that aimed to rid Germany of “Jewish intellectualism.” Nearly a decade later, in 1941, the Fridericianum—still a library at the time—caught fire during the Allied bombing raids that flattened Kassel. In images taken after the bombing, we notice not just the thousands of burned volumes leafing out palely from the dark rubble, but the now naked Neoclassical armature of the building’s columns; indeed, the eighteenth-century structure was designed in the “spirit of the Enlightenment” by Huguenot architect Simon Louis du Ry.

The main architectural embodiment of that spirit, and of the classical ideal more generally, was, of course, the Parthenon in Greece. Built during the rule of Pericles in Athens between 447 and 432 BC, the temple was dedicated to Athena, the goddess of wisdom, civilization, justice, and war, among other attributes. And the Parthenon would become the architectural model that has most often inspired the shape of Western public institutions’ edifices of knowledge, among them libraries, museums, universities, government buildings, courts, and banks. Though built to shelter a monumental gold-and-ivory statue of Athena, the Parthenon would also house the city’s treasury. Indeed, the temple was funded by taxes derived from both the Athens treasury and tribute from cities across the Aegean after the Athenian victories in the Persian Wars (Plutarch famously offers a story about Pericles wasting allies’ money on “sacred buildings”). Transformed into a mosque during the Ottoman Empire, and partially destroyed and rebuilt many times in the interim, the deconsecrated Parthenon of the modern period became an emblem of Western cultural hegemony, not exclusively democratic.

Text by Pierre Bal-Blanc, Marina Fokidis, Quinn Latimer, Yorgos Makris, Marta Minujín

Tuesday, November 10, 2015

Assembly Line

Assembly Line, 2015
MDF, wood, acrylic
145 x 207 x 6 cm

Architecture and Labour

We must start speaking about workers again, with programmes and projects that concern them directly, existentially.
Mario Tronti, ‘Politics at Work’, 2008

In her book The Human Condition, Hannah Arendt distinguishes labour from work. While work is the production of things that may be more enduring than the life of its producer (like a pot or a poem), labour is the sheer unending business of life reproduction: cooking, cleaning, giving birth, raising kids, taking care of the household. According to Arendt, labour is merely a performative activity confined within the space of the house that does not leave anything material behind. With the rise of industrialisation and the increasing division of labour, the distinction between labour and work does not exist anymore and the subjectivity of animal laborans becomes the fundamental datum of modern society. Within modernity labour no longer addresses a specific sphere of the human condition but the totality of life, since under capitalism it is life as bios that is put to work and made productive. As Karl Marx wrote in a crucial passage of Das Kapital ‘labour power is the aggregate of those mental and physical capabilities existing in the physical form, the living personality, of a human being’. This means that what is at stake in the concept of labour is not the production of things, but the production of the most crucial commodity within a capitalistic economy: subjectivity. Production of subjectivity becomes the fundamental goal of a capitalistic economy.
In this sense it is impossible to define the modern city and its architecture without understanding it through the lens of labour. And yet until today, with very few notable exceptions, very little has been written on the relationship between labour and architecture. While issues such as public space, politics, capitalism, neoliberalism and the commodification of the built environment are widely discussed, labour has rarely been confronted by the culture of architecture. The reason for this lack of discussion may be the ubiquity of labour itself as both spatial and social condition of our life. The symposium gathers for the first time a group of researchers who will attempt to read the relationship between labour and architecture in different contexts, from the intimacy of domestic space to the abstraction of post-industrial forms of production, to the role of the architect as producer. Rather than offering a comprehensive historical mapping, the symposium will offer critical insights towards a new understanding of architecture through the concept of labour.

  • Pier Vittorio Aureli

A Symposium organised by Pier Vittorio Aureli and the PhD programme ‘City/Architecture’
Pier Vittorio Aureli, Fabrizio Ballabio, Peggy Deamer, Fabrizio Gallanti, Maria S. Giudici, Peer Ilner, Francesco Marullo, Andreas Rumpfhuber

13/11/2015, Architectural Association School of Architecture

Thursday, November 5, 2015

House Model

House Model, 12th - 13th century. Ceramic; fritware, molded with a turquoise glaze, 3.8 x 9.5 x 14.3 cm. Brooklyn Museum.

Monument Dedicated to the Exercise of Sovereignty of the People in Primary Assemblies

This design for a monument to popular sovereignty was produced by the French artist and designer Jean Jacques Lequeu (1757–1826) at the time of the French Revolution. After gaining a solid education as an architect and making a promising start to his career, Lequeu failed to channel his architectural and philosophical ideas into concrete projects that would ensure him fame. Lequeu was a man of his times in his faith in science and his religious eclecticism, but he was also a troubled visionary, known to be unorthodox and eccentric. He designed several projects that were inspired by the new revolutionary era, none of which he managed to complete. Lequeu’s semicircular design is dated, in the title above the design, June 24, 1793, and, in the lower right-hand corner, Messidor 9, Second Year of the Republic. In its efforts to eliminate traditional influences from French life, the French Revolution instituted a new calendar that featured a set of renamed months, divided into three ten-day weeks. “Messidor 9” refers to the ninth day of the month of Messidor, the first month of the summer, named after the Latin word messis, meaning harvest. Years were numbered starting with the proclamation of the French Republic in September 1792. Napoleon abolished this system and restored the Gregorian calendar with effect from January 1, 1806.

Monday, November 2, 2015

Untitled (Life Without Tragedy Series)

Untitled (Life Without Tragedy Series) 2015
Plywood, wood, acrylic
63 x 19 x 19 cm


Each and every thing cuts wounds,
and neither of us has forgiven the other.
Hurting like you and hurtful,
I lived towards you.

Every touch augments
the pure, the spiritual touch;
we experience it as we age,
turned into coldest silence.

Ingeborg Bachmann


Ingeborg Bachmann

Wednesday, October 28, 2015

La Materia emancipada

La exposición busca evidenciar cómo las más representativas tendencias pictóricas ligadas al informalismo internacional arribaron a la escena artística mexicana y de qué manera este estilo de la abstracción tuvo resonancias, tanto en el trabajo de artistas mexicanos, como en el desarrollo de las colecciones de arte y de sus prácticas artísticas y expositivas. La muestra presentará a través de obras, publicaciones y documentos una sucesión de eventos y expresiones en las cuales se ponen de manifiesto interesantes puntos de contacto entre grandes creadores y teóricos ligados al informalismo y artistas e intelectuales mexicanos, quienes de manera sincrónica realizaron obras dentro de esta tendencia artística.
La exposición incluirá un conjunto muy puntual de piezas seleccionadas que dialogarán entre ellas y con diversos documentos y materiales referenciales. La muestra está organizada  a partir de tres núcleos curatoriales muy precisos. El primero presenta las corrientes españolas del informalismo, ya que fueron los artistas de este país y ligados a esta tendencia quienes tuvieron mayor presencia en México. El segundo núcleo expondrá ejemplos de otros informalismos europeos y americanos en la escena artística local y, finalmente, el tercer núcleo pondrá de manifiesto los reflejos de esta práctica pictórica en el arte mexicano del siglo XX.º

El Museo de Arte Carrillo Gil
30 Oct- 10 Ene., México D.F

Monday, October 26, 2015

The Barricade and the Dance Floor: Aesthetic Radicalism and the Counterculture

Whole Earth Catalogue, July 1970

In Hjorvardur Harvard Arnason’s sweeping survey History of Modern Art, first published in 1968, a brief entry on psychedelic art completes his six-hundred-page tome. It seems a fitting way to conclude the book’s march through modernism, focusing as it does on the au courant style of the moment. As Arnason explains, “The recent appearance of psychedelic art may be accounted for in several ways: the easy availability and enormously increased use of psychedelic drugs; the mixture and confusion of appeals to several senses simultaneously in the so-called mixed media performances; the ethos of the hippies and flower-children; and the prevalent atmosphere of rebellion against ‘the establishment,’ whether in society in general or in art specifically.” 1 Arnason does not elaborate on these causalities, which, nevertheless, are instructive in their range of positions. The use of mind-altering and consciousness-expanding drugs such as LSD, mescaline, and psilocybin on the part of artists would seem to be an expected foundational definition of a psychedelic art. This “art under the influence” approach applied not only to some artists whose work was produced during drug-induced sessions but also for the many more who drew upon such episodes and experiences more symbolically or referentially, giving psychedelic art currency as both a form of process and representational art. Interestingly, Arnason does not parse the difference between the artist and the audience undergoing an altered state of consciousness, rendering psychedelic art also possible in the mind’s-eye of the beholder.

Text by Andrew Blauvelt

Read more :

"The Barricade and the Dance Floor: Aesthetic Radicalism and the Counterculture" is republished from Hippie Modernism: The Struggle for Utopia (Walker Art Center, 2015; Andrew Blauvelt, ed.). The exhibition is on view October 24, 2015 through February 28, 2015, before traveling to the Cranbrook Art Museum and University of California, Berkeley Art Museum and Pacific Film Archive.

Thursday, October 22, 2015

Three-toed Gull, Sighted Near the Lighthouse of Kullen

I was familiar with the sense of soaring from the music
of Lars-Erik Larsson: he must have seen
the same water surfaces as I, been filled by the same light
along the same curving coastline,
and felt the slowly rising movement of the summer
in an outer world which already was an inner one:
it was as if one stood and looked northwest
where the northern Sound has imperceptibly become the Kattegat
on a day when all the sea is placid and the sky light-blue
and a hazy fog seals the horizon –
the blank shining ground-swell
with a single floating tuft of seaweed
or a bit of plank which heaves, heaves
slowly mirroring itself, while the sea’s
cool and intensely shining mist
rises up in microscopic crystals of salt –
soaring in the air where the Sound opens out
on an unfathomable beyond and a single three-toed gull
which, battered from some afterworld of flight,
comes in view as flying’s sole survivor
gliding inland towards the lighthouse at Kullaberg –
Winddriventhing at rest in the bluest of hazes
or perhaps an optical illusion in the prisms of the lighthouse
open toward monotony of air –
all alone on a summer’s day,
which sees the loss of the horizon,
takes a giddy gyroscopic turn and topples over in memory
without a sense of anything but height and depth
as if shutting its eyes to the infinite
with wings spread wide, rising and sinking and soaring
seems to free itself at last
from the immense and sparkling blue. 

Jesper Svenbro, from Three-Toed Gull: Selected Poems. Translated by John Matthias and Lars-Hakan Svensson. Evanston: Hydra Books/Northwestern University Press, 2003

Sunday, October 18, 2015

ΑΙΓΑΙ-Ω: Τραγούδια

"Το ποίημα είναι λοιπόν μία λέξη για παραπάνω από έναν, ένας λόγος που το τώρα του συγκρατεί παραπάνω από έναν μέσα του, μία ομιλία που συλλέγει παραπάνω από έναν στο εσωτερικό της", γράφει ο Jacques Derrida για την ποίηση με αφορμή τον Paul Celan στις διαλέξεις του 2002 με θέμα "Το κτήνος (σε θηλυκό γένος) και ο κυρίαρχος".
Το έργο ΑΙΓΑΙ-Ω εκπηγάζει από μία έρευνα που η Φοίβη Γιαννίση και η Ίρις Λυκουριώτη έχουν εκινήσει εδώ και τρία χρόνια με θέμα την κτηνοτροφία αιγών στον ελληνικό χώρο, ηπειρωτικό και νησιωτικό, στο πλαίσιο της νέας μετα-ανθρωπιστικής συνθήκης. Η λέξη ΑΙΓΑΙ-Ω φωτίζει την υπόμνηση του ευρύτερου αιγαιακού χώρου ως γεωγραφία αλλά και ως γη των αιγών. Το τελικό Ω, δανεισμένο από αρχαίες αναπαραστάσεις του θηλυκού αιδοίου επάνω σε λατρευτικά εδώλια, υπαινίσσεται κάποια θηλυκή οπτική. Το ΑΙΓΑΙ-Ω τοποθετεί στο κέντρο το ζώο και τον κύκλο ζωής του καθώς και τις πρακτικές της σύγχρονης κτηνοτροφικής ζωής και απλώνεται μεταφορικά σε θέματα εξουσίας (χωρικής, κοινωνικής και φυλετικής) και ιστορίας.

Στην Performance της 22ας Οκτωβρίου, "τραγουδι 1” συμμετέχουν οι:
Πάκυ Βλασσοπούλου,Φοίβη Γιαννίση, Κατερίνα Ηλιοπούλου Φάνης Καφαντάρης, Πατρίτσια Κολαΐτη, Χρυσάνθη Κουμιανάκη, Ηρώ Μαζαράκη, Ισαβέλλα Μαρτζοπούλου,Μαρίζα Νικολάου, Άννα Παγκάλου, Φώτης Ροβολής, Χαρά Στεργίου, Μάριος Χατζηπροκοπίου

Την Παρασκευή 23 Οκτωβρίου, ώρα 19:30, θα πραγματοποιηθεί η διαλογική βραδιά :
"Βιοι και πολιτείες της Αιγαιακής Χώρας' 
στην οποία συμμετέχουν με ομιλίες οι:

Λεωνίδας Εμπειρίκος
"Ο γύπας, ο λύκος και η γίδα (και ο φουρνός)"
Ελευθερία Δέλτσου
"Από τους τράγους και τα κριάρια του Α. Blok στις κατσίκες που
(δεν) μασάνε ταραμά"
Ιωάννα Λαλιώτου
"Περί μετα-ανθρωπισμού: Σημειώσεις ενός οδοιπορικού"
Κωστής Βελώνης
"H γλυπτική της αυτάρκειας και η υπαίθριο-ποίηση της πόλης"
Μιράντα Τερζοπούλου
"Μια βοσκοπούλα αγάπησα"
Πάνος Πανόπουλος
"Τα κουδούνια και οι φωνές τους"

Φοίβη Γιαννίση, Ίρις Λυκουριώτη
22 Οκτ- 20 Νοεμ 2015
Μουσείο Λαϊκής Τέχνης και Παράδοσης "Αγγελική Χατζημιχάλη"

Wednesday, October 7, 2015

Super Superstudio

PAC presents the work of Superstudio (1966-1978), the Italian group of radical architecture and radical design that has activated a revolution in the idea of design around the world.

The Superstudio have since the 70s historically animated the critique of modernism articulated through radical architecture, establishing themselves as the last great Italian avant-garde.

Co-curated by Andreas Angelidakis, Vittorio Pizzigoni and Valter Scelsi, the exhibition recounts how this group of Florentine architects has influenced not only great architects such as Zaha Hadid, Rem Koolhaas and Bernard Tschumi, but have definitely questioned the limits between contemporary art and architecture.

The exhibition will reconstruct Superstudio’s most important projects by bringing together its most representative pieces of design, installations and films, and by building – as a part of the total urbanisation model promoted by Superstudio itself – a dialogue with works by 21 contemporary artists, who have drawn the raw material for their oeuvre from the Florence group’s research: Danai Anesiadou, Alexandra Bachzetsis, Ila Beka and Louise Lemoine, Pablo Bronstein, Stefano Graziani, Petrit Halilaj and Alvaro Urbano, Jim Isermann, Daniel Keller and Ella Plevin, Andrew Kovacs, Rallou Panagiotou, Paola Pivi, Angelo Plessas, Riccardo Previdi, RO/LU, Priscilla Tea, Patrick Tuttofuoco, Kostis Velonis, Pae White.

Athens Community in the Kibbutz, 2011
Marble, ceramic, wood, acrylic, hardboard, veneer
20 x 30 x 10 cm 

Pac - Padiglione d'Arte Contemporanea
radical art and architecture
11 October 2015 - 06 January 2016

The exhibition opens on the occasion of the 11a Giornata del Contemporaneo, scheduled for Saturday 10th October 2015 and promoted by AMACI - Associazione dei Musei d’Arte Contemporanea Italiani, of which the PAC is a founding member.

Tuesday, October 6, 2015

Rain a gentle suffering

a gentle

Stephen Nelson, 2015

Sunday, October 4, 2015

Παρυφές και μεθόριοι

Στην έκθεση Παρυφές και μεθόριοι, που παρουσιάζεται στα πλαίσια του The Symptom Projects στην Άμφισσα, η μεθόριος γίνεται κατανοητή ως διαβλητό, συνεχώς μετατρέψιμο και μετατοπιζόμενο όριο· περίγραμμα ή περιφερειακή ζώνη, η οποία ορίζει το χώρο μέσα από μια διπλή διαδικασία περιλήψεων και αποκλεισμών. Μια μορφή γενίκευσης, αναγωγής, στερεοτυπικών αναγνωρίσεων και ετεροκαθορισμών. Η μεθόριος και η μεθοριακή συνθήκη που αναπαράγει, επισημαίνουν ένα πεδίο στο οποίο δεν εμφιλοχωρούν διακριτά τοπογραφικά σημεία. Η μεθόριος συγκροτεί ένα νοητό χώρο του οποίου η κύρια λειτουργία είναι να καθιστά ορατό τον διαχωρισμό ανάμεσα στο γνωστό και το άγνωστο, το αποδεκτό και το μη αποδεκτό και κατ’ επέκταση το αναγνωρίσιμο και το μη αναγνωρίσιμο. Τονίζει δηλαδή τη διάσταση της διάκρισης και τα σημεία τομής που παρεμβάλλονται ώστε να καταστήσουν σαφείς τους νοητούς διαχωρισμούς.

Ιστορικά, στην αποικιοποίηση των νέων ηπείρων από το δυτικό κόσμο, οι μεθοριακές γραμμές, τα λεγόμενα frontiers, λειτούργησαν ως αναγνώριση του πολιτισμένου κόσμου, ορίζοντας την έκταση του εξευγενισμού. Πέρα από εκείνα εκτεινόταν ο άγριος κόσμος, ο Άλλος. Με αυτή την έννοια το frontier, στην απόλυτη νοηματική του ελαχιστοποίηση, υποδηλώνει το όριο του συμβολικού, της οργανωτικής συγκρότησης του συνειδητού κόσμου. Σε αυτή την περιοχή διακρίνουμε μια τοπολογική αντιστοιχία με το στοιχείο που ο Sigmund Freud ονόμασε ομφαλό του ονείρου. Στην έκθεση Παρυφές και μεθόριοι που πραγματοποιείται παράλληλα στην Άμφισσα και τους Δελφούς, ο ομφαλός της γης, αυτό το αινιγματικό αντικείμενο που φυλάσσεται στο Αρχαιολογικό Μουσείο των Δελφών –όπως και ο τόπος που λειτουργεί ως όνομα-μεταφορά, αναδεικνύονται ως εμβληματικό σημαίνον, σημείο ανάδυσης της μεθοριακής εκκρεμότητας και των σύγχρονων εκδοχών που λαμβάνει.

Speakers' Corner, 2015
Wood, blocks of granite, bronze
34 x 30 x 57 cm

Συμμετέχοντες καλλιτέχνες:
Νίκος Αρβανίτης, Αριστείδης Αντονάς, Κωστής Βελώνης, Πάκυ Βλασσοπούλου, Ζωή Γιαμπουλντάκη, Θοδωρής Γιαννάκης, Λυδία Δαμπασίνα, Λητώ Κάττου, Μανώλης Μπαμπούσης, Πέτρος Μώρης, Γιάννης Παπαδόπουλος, Κώστας Σαχπάζης, Χαρίκλεια Χάρη, Κωνσταντίνος Χατζηνικολάου, Κώστας Χριστόπουλος

the symptom 06
Παρυφές και μεθόριοι”
Επιμέλεια: Ευαγγελία Λεδάκη
Παραγωγή: The Symptom Projects

Παλαιό Νοσοκομείο Άμφισσας και Αρχαιολογικό Μουσείο Δελφών

Διάρκεια έκθεσης: 10 - 25 Οκτωβρίου, 2015

Vegetazione Romana

Giacomo Caneva, Vegetazione Romana (study), 1852
Salt print from paper negative

Friday, October 2, 2015

Über-Marionette, Grace, and the Fall of the Performer

Central to this paper will be the argument that theater and performative practices sketch out an ontological background where knowledge is not so much inherently liberating as it is naturally accepted by the majority of people, and engaged in ethical issues and political discourses in many writings.

In “Über das Marionettentheater” (On the Marionette Theater, 1810), written by the German dramatist Heinrich von Kleist, one of the interlocutors in a rather intense dialogue, a principal dancer at the opera, argues that puppets have the advantage of being resistant to gravity. Of the heaviness of matter, the factor that most works against the dancer, they are entirely ignorant: because the force lifting them into the air is greater than the one attaching them to the earth. According to the dancer in Kleist’s essay, puppets possess a certain grace that humans do not. But what if humans are dependent on gravity and ironically, as Master puppeteers who control the puppets by pulling their strings, fumble in their own movements? 

Read more:

Monday, September 28, 2015

Στο Όνομα του Le Corbusier

Στο Όνομα του Le Corbusier

Το όνομα του Le Corbusier, αν και σαφώς ‘κύριο’, ταυτολογικός χαρακτηρισμός του υποκείμενου στο όνομα Charles-Édouard Jeanneret Μοντέρνου αρχιτέκτονα, φαίνεται πως πορεύτηκε στη μετά θάνατο κατάστασή του και ως όνομα ‘κοινό’. Αποκλειστικά τεκμήρια δεν υπάρχουν. Κινήθηκε πλάι αλλά κυρίως πάνω στο μοντέρνο, λέξη που με τη σειρά της βρέθηκε να υψώνει κάποτε το πρώτο γράμμα από ‘μ’ σε ‘Μ’. Αν κτίστηκαν οι απαραίτητες συλλογικές υποδηλώσεις για μία κοινή μετάφραση της αρχιτεκτονικής ‘modernité’ παίζεται. Η φαντασία πάντως άρχισε να επιλέγει σταδιακά τα δικά της ερμηνευτικά συμπληρώματα για τον όρο στο άκουσμα και μόνο του ονόματος του κυρίου Jeanneret ως Corbusier μέσα στη διαδικασία αναζήτησης μίας αξίας γενικής.
Εδώ, η ομαδική έκθεση ‘Στο όνομα του Le Corbusier’ προσκαλεί δημιουργούς που υποθέτουμε πως άκουσαν το όνομά του να αντηχεί επαναλαμβανόμενο στους διαδρόμους των αρχιτεκτονικών σχολών όπου κάποτε βρέθηκαν – σπουδάζοντας ή διδάσκοντας- να στήσουν ένα διάλογο πάνω στο ερώτημα ‘ποιος είναι τελικά ο Le Corbusier;’ Τα έργα θα φιλοξενηθούν στην οικία Σπητέρη της οδού Κυκλάδων που σχεδίασε ο αρχιτέκτονας Αριστομένης Προβελέγγιος, συνεργάτης του Le Corbusier και εντεταλμένος εκπρόσωπος της ελληνικής κοινότητας των αρχιτεκτόνων στην κηδεία του.

Κ. Βελώνης & Λ. Λυκουριώτη, Φ. Γιαννίση & Ζ. Κοτιώνης, Γ. Γρηγοριάδης, Γ. Γυπαράκης, Θ. Ιωαννίδου, Π. Κούρος, Β. Ξένου, Μ. Παπαδημητρίου, Α. Ψυχούλης.
Επιμέλεια: Παναγιώτης Τουρνικιώτης, Φάνης Καφαντάρης.
Συνδιοργάνωση:Workshop-S Διονύσης Σοτοβίκη

Οικία Σπητέρη/Προβελέγγιου, οδός Κυκλάδων 6, Κυψέλη

6 Οκτωβρίου – 8 Νοεμβρίου 2015
Παράλληλες εκδηλώσεις στο χώρο της έκθεσης:
Πέμπτη 15 Οκτωβρίου
Ο Κώστας Τσιαμπάος προσκαλεί τους αρχιτέκτονες Διονύση Σοτοβίκη και Γιώργο Τζιρτζιλάκη σε μία ανοιχτή συζήτηση αφιερωμένη στον Αριστομένη Προβελέγγιο, το έργο του, τη σχέση του με το Le Corbusier και τη σχέση τους με την Κυψέλη.

Κ. Βελώνης & Λ. Λυκουριώτη, Found Something in the Hills (2nd Crows Debate ), 2105

Η έκθεση εντάσσεται στη δέσμη εκδηλώσεων και άλλων δράσεων με γενικό τίτλο «Αναφορά στον Ελ/Le Corbusier» που οργανώνονται από το Φθινόπωρο 2015 ως το Καλοκαίρι 2016 με πρωτοβουλία της Σχολής Αρχιτεκτόνων Ε.Μ.Π. και τη στήριξη του Ιδρύματος Le Corbusier με αφορμή τα 50 χρόνια από τον θάνατο του Le Corbusier. Οι εκδηλώσεις συνδιοργανώνονται ή στηρίζονται στο σύνολο ή κατά περίπτωση από το Γαλλικό Ινστιτούτο, την Ελβετική Πρεσβεία, το Ελληνικό Ινστιτούτο Αρχιτεκτονικής, το Ελληνικό Docomomo, το Κέντρο Αρχιτεκτονικής της Μεσογείου, και άλλους πολιτιστικούς και επιστημονικούς φορείς

Wednesday, September 23, 2015

This Is Your Brain On Climate Change

We spend vast amounts of time and personal energy trying to calculate the most urgent threats posed by climate change. Washington, D.C. psychiatrist and climate activist Lise Van Susteren, however, says the most insidious danger may already be upon us. She’s not talking about heat, drought, floods, severe storms, or rising seas. She’s focused on the psychological risks posed by global warming.
Van Susteren has co-authored a report on the psychological effects of climate change that predicts Americans will suffer “depressive and anxiety disorders, post-traumatic stress disorders, substance abuse, suicides, and widespread outbreaks of violence,” in the face of rising temperatures, extreme weather, and scarce resources. Van Susteren and her co-author Kevin Coyle write that counselors and first responders “are not even close to being prepared to handle the scale and intensity of impacts that will arise from the harsher conditions and disasters that global warming will unleash.”
There is currently no organized discipline for the study of the psychological risks of climate change, yet it is already taking a toll on many people who tackle this issue. Surprisingly susceptible are those who might seem to be immune.
The climate deniers? I always say they‘re really too stressed to hear the truth,” said Van Susteren. “We see this kind of thing in my work all the time, where people who aren’t ready to hear the truth about something will simply say it doesn’t exist.”
Text by Jeremy Deaton

Homage to Pudlo Pudlat

Drawing by Pudlo Pudlat 

At its heart, this conversation is centered on encounters, from the artist Arvo Leo’s chance discovery of a book about one of the most prolific, yet little known artists in Canada, to Pudlo Pudlat’s own drawings, over 4000 renderings that reveal the Arctic landscape as a site of transition, a region that from 1940s onward, was inundated with new technologies, new religion, and ideas that radically changed the way of life for those in the far north. Looking critically at the conditions of production, the conversation will provide a background on the development of the West Baffin Eskimo Co-operative in the 1950s. In a place where paper currency was a relatively recent introduction, the program introduced art-making as a means to replace incomes lost after the collapse of the fur trade. Collectively, Pudlat’s drawings reveal a cosmology. In them, fish pull airplanes, humans ride muskox, and seals have the ability to teleport to the sky. Arvo Leo's encounters in Cape Dorset extend these readings of Pudlo's world as drawings transfigure into a fresh interrogation of landforms, community practices and the rhythm of Inuktitut songs. By way of acoustically and visually engaging with scenes of daily life, human-animal relations and intricate contingencies of the Canadian Arctic in a time of ecological shift, Fish Plane, Heart Clock unravels an organic correspondence between the camera and the drawing. Candice Hopkins and Natasha Ginwala
Candice Hopkins and Natasha Ginwala discuss the work of Arvo Leo and Pudlo Pudlat.
27/09/2015 3 pm
La Loge, Brussels

Tuesday, September 22, 2015

Bird House Play

Bird House Play, 2015,
wood, chipboard, paint
143 x 113 x 10 cm

Institutions, Politics, Performance

The conference “Institutions, Politics, Performance” seeks to bring together interdisciplinary theoretical discourses on politics and artistic production that explicitly negotiate with institutions through experimental praxes from within and beyond them. The conference will take place in occupied Green Park space in Athens, Greece and presentations will explore the theme through conventional and non-conventional investigations. This conference will include paper presentations, lecture-performances, workshops, dialogues, round-table discussions as well as less conventional informal discussions and events, performative acts, city walks and screenings.
The conference will take place in Athens, Greece where, currently, the ongoing economic and social crises as well as recent governmental shifts make the question of institutions particularly pertinent. We seek to bring together into conversation diverse approaches and methodologies of institutional critique, past and present, as well as propositions for new forms and alternative practices.
Keynote Speakers: Athena Athanasiou, Denise Ferreira Da Silva, Stefano Harney, Alexandros Kioupkiolis, Bojana Kunst, Isabel Lorey, Alan Read, Gerald Raunig, Vassilis Tsianos

Organised by: Gigi Argyropoulou & Hypatia Vourloumis
Green Park , 24-28 September 2015, Athens

Saturday, September 19, 2015

The Door in the Sky

The Truman Show” directed by Peter Weir and written by Andrew Niccol, 1998.

Thursday, September 17, 2015

Response to R. Scott Bakker on transcendental phenomenology and BBT

There is nothing “outside” the natural order. In this sense, I am opposed to the transcendentalist’s move to remove Reason or the reflective understanding from physical reality. There is indeed a supernaturalist residue in much transcendental and phenomenological philosophy. This is why my project has always been to theorize “the natural order” as itself always already creative, aesthetic, interpretational, experiential (mine is a naturalized transcendental (Schelling’s “Nature is a priori”)). There is no “other” world from which the causal efficacy of our world derives. With our universe, the cause is internal to the effect, which is another way of saying our universe is primarily organic (with mechanism as a secondary appearance). This is why I follow Whitehead in the endeavor to construct an ontology of organism, wherein: 1) Physics is the study of the evolutionary development of particles, stars, galaxies, and other micro- and macro- organisms-in-ecologies; 2) Biology is the study of the evolutionary development of single cells, plants, and animals in their meso-cosmic ecologies; 3) Philosophy, anthropology, and theology are different aspects of the study of the evolutionary development of languages, myths, and ideas in their noetic ecologies. The organism-environment field becomes the metaphysical metaphor guiding our theorizing, rather than the machine.

Now, when I say “my project has always been to theorize…”, I should qualify that “theory” in the context of an open-ended, evolving cosmos such as ours can never pretend to certainty or finality. Theory is not the construction of a disinterested, reflective ego (at least, no valuable theory is). Theory always remains dependent on the speculative leap of some metaphor or another. Theory is imaginative construction requiring equal doses of aesthetic taste and logical clarity. Our theories are always as much science fiction as they are science fact.
I agree with Bakker than cognition of the real just isn’t possible. But we must distinguish between cognition on the one hand, and sensation, feeling, and intuition on the other. If an intuition of the real is our goal, using the reflective instrument is like shining a flashlight in search of darkness. Reflective cognition is like King Midas, turning everything it touches into noetic gold. It transforms everything not-I into food for itself, digesting the world and defecating whatever it can’t assimilate as waste. It does’t seem to me much of a stretch to say that modernity’s exclusive reliance on reflective cognition is one of the main factors leading to the ecological crisis.
Let me be clear that, while I defend transcendental phenomenology from Bakker’s eliminativist meta-critique, my own philosophical home base is process-relational ontologyI have major issues with transcendental phenomenology as a philosophical resting place. It remains too anthropocentric, too concerned with issues of human access and not attentive enough to solar nucleosynthesis, cellular mitosis, and atmospheric levels of CH4. But still, I just don’t understand how, having grasped the power of transcendental critique–as critique–one could fail to see eliminativist arguments like BBT as anything but dogmatic materialism (materialism has today become the new School Philosophy, though it pretends to be the ultimate critic of all metaphysics). Where I leave transcendentalism behind is in my pursuit of a constructive, cosmologically-rooted philosophy, something the phenomenological approach just cannot provide.

It is clear Bakker has done his philosophical homework. I don’t think it is fair of him to lump everyone into the same transcendentalist clown car, though. Phenomenology was born out of the intense debates between Fichte, Schelling, and Hegel, all of whom accused Kant of not having cleared his vision of dogmatist residues. They all recognized the possibility and the fact of neglect, and even of the neglect of neglect. But for these post-Kantians (with the possible exception of Hegel), the transcendental project was an infinite one by definition, meaning there would never be a point when the a priori structures were finally reached and could be clearly and distinctly spelled out once and for all. Fichte grounded the transcendental historically in the ethical development of humankind, describing philosophy as an attempt to asymptotically approach absolute metacognition as an ideal while never in fact being able to reach it. Schelling went further and grounded the transcendental in the creative developmental arc of the cosmos itself. For Schelling (and here he converges with Whitehead), not even God knows the a priori conditions of experiential reality: the divine is just as caught in the chaotic turmoil of historical becoming as any creature is. None of these thinkers, with the possible exception of Fichte when he is sloppy, thought that impersonal natural systems could be cognized in terms of their own 1st person experience.
Here is Schelling mulling over this exact problem, for ex.:
I could conceive of that being perhaps as something that, initially blind, struggles through every level of becoming toward consciousness, and humanity would then arise precisely at that moment, at that point in which the previously blind nature would reach self-consciousness. But this cannot be, since our self-consciousness is not at all the consciousness of that nature that permeates everything: it is just *our* consciousness and hardly encompasses within itself a science of becoming applicable to all things. This universal becoming remains just as foreign and opaque to us as if it had never had a bearing on us at all. Therefore, if this becoming has achieved any kind of purpose it is achieved only through humanity, but not for humanity; for the consciousness of humanity does not = equal the consciousness of nature” (The Grounding of Positive Philosophy, 1841).
In other words, 1st person reflective ego consciousness is largely a sham. It can tell us little if anything about the unconscious natural ground from which it emerges. Of course, Schelling (like Whitehead) argued that the field of experience extends beyond mere 1st person ego consciousness. My argument with Bakker has always been: why reduce the experiential field that is open to us to 1st person ego consciousness? Most of our daily and nightly experience is not egoic! Most of the time we are flowing through other experiential states more akin to animals, plants, and even minerals. So in a sense mine is also a post-human manifesto. We have never been human, if you want.

Text by Matthew David Segall